BASEMENT MUSIC LIVE at The Pitz

Review: MMT.

So, me and Phil were philosophising. About how you can never tell which bands are going to leave a lasting musical legacy and which bands aren’t. If you’d asked me when I was 19 which band from 1994 were going still be influencing teenage bands almost two decades later I wouldn’t have hesitated – Nirvana. Or, at a push, Suede, Blur or the Manics. I certainly wouldn’t have predicted Green Day. And likewise, if you’d told me in the year 2000 that Blink-182 would still be casting a long musical shadow in 2012, I would have laughed you out of town. “Blink-182?  They’re a comedy skate-punk band, surely?  No one takes THEM seriously!”

But you never know. You honestly never know. Who’s to say that Dappy won’t be hailed as a musical visionary in 2030?  Or that the single album by Viva Brother won’t be rated higher than the entire discography of The Strokes in half a lifetime’s time?

Still – none of this is to take away from Sounds & Scenarios. Their lively blend of pop-punk and indie – influenced by the two aforementioned acts! – was a fittingly excellent way to kick off an excellent afternoon’s worth of music at The Pitz for “Basement Music Live” (five acts brought to us by (what we reckon is!) Milton Keynes’ best music radio show). They were one of the best young bands we’ve seen for a while: energetic but catchy – they could develop into something special. Also loved the matching waistcoats!  And their last song, “Prized Possessions” hints at how much more raucous they might be in a night-time gig!

Second up was one of our favourite local acoustic acts: Seeking Salvation Through Love. The high quality of the Pitz sound really showed off how good his voice is – between the songs the pleasingly busy audience were hushed to silence! – and we were even treated to a new song!

While I’m here, I should mention that it’s noteworthy The Pitz are still doing gigs, even on a Sunday afternoon. It may have lost some profile in recent years since the departure of Paul Rivers, but there’s no doubting its credentials as a venue. The lights, the stage, the sound, they’re all still in as great nick as they ever were – even if between the acts the sound guy exclusively plays heavy rock from the years 1989 – 1993. The only thing they’re really lacking is a cash machine. (stares mournfully at empty pint glass)

I’d heard good things from the Basement Music guys about I’m Called George, but never seen them before – though when they opened their set with a Lana Del Rey cover, I must admit I thought “Man, These Will Do Me”! It was a great set throughout, really very impressive – hook-laden pop-rock gelled together by the pounding rhythms of the drummer and the synth layers from the keyboard man – in fact all four musicians are clearly very skilled. Plus they had fans with I’m Called George t-shirts and banners!  That really is the dream, right there!

They’ve got a song – I think it might be called “I Wanna Know Your Name”? – which opens with vocal harmonies, bounces through some classic rock shapes and ends up in an immense synthy middle section which is absolutely captivating. Great stuff, one of the best sets I've seen in 2012.

YC Olie is such a consummate professional, such a safe pair of hands. Again, take nothing away from his performance and his songwriting, but he’s more like a compere than the actual comperes – enthusing about the other bands, thanking all the people that need to be thanked. His love for what he’s doing is infectious, and he can turn his hand to any kind of gig. Those of us who happen to see him play quite a lot are excited to hear some of his newest songs, performed along with a backing track of a ‘full band sound’ which is a very intriguing live twist.

We’ve always believed headliners Isabelle to be one of the most musically accomplished of all local(ish) acts – their summery soul-pop (and do I even detect some smoky jazz flavours today?) is easily good enough to reach a national stage. I’ve seen them a few times now, but one thing which strikes me at this gig is how spot-on the backing vocals (provided by their percussionist and drummer) are. They may come from... shall we say men of a certain vintage?  (like we’re ones to talk!)  ...but they sound like the missing two members of a Motown girl band when they harmonise with lead vocalist Letty. The crowning moment of genius in their set this time is the cover of “Groove Is In The Heart” – a song which I had believed was uncoverable by band bands... till now!

So... a great and variety-filled gig, and a smashing way to spend a Sunday afternoon. All hail Basement Music. See you at the next one!

SOHO DOLLS

Venue: The Pitz
Support: 586 / The Modus Vivendi / Mojave Allstars
Reviewer: Phil

Mojave Allstars drive through The Pitz with the windows down and speakers on full. They have a big, solid, well assured sound that’s more mature than you’d expect, considering this is only their second gig. Their sound is equal parts Pearl Jam, Soundgarden and Nine Inch Nails, while their vocalist apes Eddie Vedder and Trent Reznor. They are big, loud and impressive, as are tonight’s second band, local heroes The Modus Vivendi.

Modus Vivendi: 'an informal and temporary arrangement to allow for resolution in spite of differences, or, a way of living'. What more can be said about Beanie and his crew of jazz-funk pranksters? There’s the blues here, there’s funk a-plenty, there’s art rock circa early Sonic Youth, and there’s a groove and a sense of humour that’s reminiscent of Primus or Captain Beefheart circa Trout Mask Replica. The Modus Vivendi’s sound is distinctive, loud and aggressive, but also fun and humorous just like the band. These guys are veterans of the Milton Keynes scene, while not pretending to be in any way connected with it. They are their own movement. If tonight was your first dose of Modus, you may well need to see them a few more times to be convinced. But like eating sushi... you might be unsure the first time you try it, but three meals in and you're hooked!

586 burst onto the Pitz stage, a five-piece who’s irresistibly upbeat clatter is immediately reminiscent of Les Incompetents, Larrikin Love, Blondie or The Pipettes, while their collage of musical textures conjure up Arcade Fire or Clap Your Hands Say Yeah. They play with confidence and gushing enthusiasm, despite virtually the entire audience having disappeared of to the bar for 586’s set which is a shame on their part! Debut single Money Is The Drug gets an early play and hits you with an irresistible chorus, while closer I’m Not A Monkey tries to be aggressive but ends up sounding like Bridget Jones in a huff. You can’t help but laugh, for in no way are this band taking this rock n roll business at all seriously, except that they are making exceptionally catchy indie rock!

Soho Dolls, a London five-piece fronted by enigmatic vamp Maya Von Doll, play seductive gothic electro-rock like it’s the new vogue. When Maya purrs ‘my vampire’s ok’ she sings it like she believes it, and tonight so do we. With a slab of sleazy 80’s Depeche Mode meets Goldfrapp, Maya sings about vampires, strippers, pimps and princes with equal parts punk attitude and glam seductiveness. An early play of first single Prince Harry sounds like a classic returning home, internet single My Vampire is smooth and utterly captivating, while closing single Stripper is grimy, dirty, and downright fantastic. These guys may be rocking to their own electro-rock tune, like a glimpse down a Soho back alley into an unfamiliar world, but tonight they’ve taken us with them and we’re utterly seduced….

THE PITZ: VOLUME 3 - CD Review (2004)

Reviewer: MMT

See, I don't really have a problem with Death Metal*. I don't. We used to sneak on Obituary albums when we were supposed to be listening to German tapes on headphones at school. I have mass-moshed in a circular fashion to Lawnmower Deth at the Pitz itself. I have a Cradle Of Filth album. So when "The Pitz : Volume 3" kicks off with "Forever Lost" by Cerberus, I'm not at all put out. It could be a major label Death Metal* group, if such a thing existed. The guitars are apocalyptic, there is some virtuoso soloing, doom-laded vocals. And I'm happy. I set up my new Massage Pad in my music chair and feel the vibrations course through my lumber region.

It will become apparent that I am not particularly "up" on the MK music scene. Partially this is due to money - I never have any. I'm a poet ferchrissake. Partially due to my twenties slowly winding down. But hey - I'm still cool. Our band played at Bar Central recently. I have seen Odd Man Out at least twice before, too. On both occasions I quite liked them - they plough an angular, intelligent, muscular rock furrow. I think I have previously mentioned Six By Seven in connection with 'em. "Dead Inside" doesn't rilly grab me, though. Still, they're doing well nationally, so good on 'em.

Phema do a similar thing, jagged guitars and tremulant (!) vocals then giving way to a dark instrumental bit in the middle. And again, it's not bad. I would watch 'em at a local bands night or somethink. That's the important thing - celebrating local talent. And that's what The Pitz has always been good at. I challenge you to name another place in MK which has managed it so well for so consistently long. That's the important thing.

Note also how I neatly sidestep real incisive journalism here. Who needs it when you've got a Massage Pad? Luckily, though, I am finally grabbed properly on Track 4, "In The Market Place" by The Dead Girls. This is scuzzy and poppy, two facets appearing on this compilation for the first time, and welcome. Ten thumbs up.

Dive's "Place In The Sun" is an excitable "Bleach"-era-Nirvana clatter. And now I am nodding. The spirit of Rock still burns somewhere inside me, under the vodka-blurred beast I have become. Kurt would be proud. I hope.

"Dark Matter" by Mikaw Barish is the best thing on the compilation so far, perhaps the best thing on it all, I realise after several listens. I'm a sucker for lyrics anyway, and these are notably good in comparison. The singer has a really emotional edge in his voice, and trying to come up with a genre for it (the Last Recourse of the Poor Music Journalist) I coin the phrase "Darkrock". Seek out and enjoy.

Of course, being mostly ignorant about the MK music scene, I'm blind to some of the subtle differences between some of the bands. I dunno who came first, who stole who's bass player, etc. But I got a free copy of the CD, the least I can do is review it. And it does rock.

Fell Silent open up the drawer marked "Death Metal"* again, but at least have the good grace to freshen things up a bit with a really catchy chorus with harmonies and everything. Then everything gets even better with a slow mid-section which includes a cool talky bit. I am genuinely enjoying this. "Betray". Sweet.

The half-way point of the compilation lowers the volume a little again, Lupa's "Less Than, Lately" is circling, airy rock. It sounds urgent, earnest, punchy. It's good. It's also the best song title on the CD, incidentally. I find these things important.

I have seen Dark Hadou live a couple of times as well, at last year's Band Blitz. They are better live, the recording is a little muddy on "Welfare & Friends", not quite as atmospheric. Still, the quality of recording has come on in leaps and bounds since the early nineties when I used to buy local band tapes. All the tracks on here are noticeably well recorded. What times we live in!

"Something Like Winter" by Modulator starts off all Gothy, which is promising. Not much else happens for a while, but then there's yet another good midsection which speeds up, brings in distortion, riffs around and even becomes a bit dancy. Where have all these middle sections come from? Nice.

Fidjit are a lot more polished musically than many of the other bands on here, "2X2" is quite straightforward Funk Rock, which veers almost into Mansun territory at times, but definitely makes me feel groovy. Neck movements. And not just because of my Massage Pad. Skips into a rappy bit near the end.

There's a noise like a train at the start of "13th Saint" by Nomme Louis. I wonder how they did that? The rest is typically burly Death Metal* fare, complete with vomiting vocals. It's all starting to get a bit much. At least this is short.

And by a minute into "Exhumed Justice" by Seethe, I am starting to yearn for some airy keyboards, or some t.A.T.u.. As I have already whined, I do like Death Metal*, I do, but this bit of the CD is starting to feel a bit like eating a very dry cake. With lots of rusty nuts, bolts, washers etc. in it.

I guess that's my only criticism of the CD, and even that's not a very big one. It skews too far towards sweaty men playing Harsh Metal, but that's only a reflection of what The Kids want to see at The Pitz, I guess. I would like to have heard a few more different voices, a few more shades of grey or even colour amongst the grimy black, and where are the girls? Whence are the 75% Lips of 2004? Aah, maybe I am getting old. Still, my lower back feels very refreshed.

Hold up though - here are Graveltrap, and suddenly it's a cheerful ska-punk knees up! That's better! Smiling faces and sweaty hugs all round! The central riff is almost folky, but still works. This is the sound of a confident band at ease with themselves and their surroundings. Excellent.

Tarpot would seem to be engaging in that time-honoured practice of doing almost Comedy Death Metal*! Starting with what sounds like a Muppet singing the lyrics before the music kicks in, "Berzerker" spins close to a Satanic version of the Reeves Club Style. Still, I like it! The best bit is the sample at the very end.

The CD closes with a feature I like, a classic track from a Pitz Band of yesteryear, a nice concession to those of us who fought in the Metal Wars of the Nineties. This CD highlights Rat Salad, "Get Out" sounds a little tame after just having experienced Seethe and Tarpot, but draws a line through history from then to now.

So it's worth buying, espeshly if you're a denizen of the Pitz, and you like your guitars grindy, your bass apocalyptic and your vocals gutteral. And even if you don't, there's enough here even to entertain the most jaded of late twentysomething music fans. And here's to the Pitz for compiling it. Long may they continue.

* If it's even still called Death Metal. Sucks to you if it's not. I know what I mean, daddio.